Ali Kazimi

Beyond Extinction: Sinixt Resurgence

“This is the story about a ghost people who live in a ghost territory.” Thus begins this richly documented history of the struggle for recognition of the Sinixt, one of Canada’s indigenous peoples. While other indigenous peoples have legal rights, the Sinixt have none, because they are officially extinct. But the fact is they’re still there.

Random Acts of Legacy

Silas Fung, a Chinese-American, was a sign designer and painter for Sears in Chicago in the 1930’s. Born into a creative family, he was also an avid painter, musician, church-goer, documentarian and father. After he was married (to Edythe) and had children, he decided to continue his passion for filming by documenting their lives. Over the next two or three decades, he amassed his family’s whole life as they became part of the middle class of America. Meanwhile, in the early 21st century, Ali Kazimi was bidding on an online auction for some 16mm nitrate film cans with Silas’ name on them. After winning them and starting the process of cleaning them up, he was contacted by a lady who was bidding on another lot of Silas’ films and wanted to know who had won the second lot. From there, Kazimi began to interview Silas’ daughter, Irena Lam, and other Chinese-American people who grew up at the same time as Irena as well as experts in Sino-American culture.

Shooting Indians: A Journey with Jeffrey Thomas

Spanning over a decade, from 1984 to 1996, Shooting Indians: A Journey with Jeffrey Thomas is an ironic documentary journey full of quiet insights and surprising twists. Starting the film as a foreign student in 1984, Kazimi begins to unravel the hidden history of the land that he has chosen as his home. At one level, Shooting Indians is a portrait of Jeffrey Thomas, an Iroquois photographer. The film explores the influences on his life which led him to his career. It was the work of an American photographer from the turn of the century, Edward Curtis, which forced Thomas to closely examine how Indigenous peoples had been photographed in the past. Thomas views Curtis’ monumental work as a “mountain which must be crossed.” On another level is the irony of an Indian from India making a film on a North American Indian and this is woven throughout the fabric of the film.